San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,684 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Last Days in Vietnam
Lowest review score: 0 Insidious: Chapter 3
Score distribution:
6684 movie reviews
  1. Funny and sweet enough to delight kids and inventive enough to satisfy adults.
  2. Emily Watson is ravishingly good -- and brings an amazing focus and intensity to what could have been a disease-of-the-week picture.
  3. Mainstream audiences will probably be confounded by Drive, while lovers of gritty filmmaking will defend every exaggerated shotgun wound as art. Know which camp you're in before you enter the theater.
  4. Like the best wines and the best films, there’s a complexity to the finish, so that it reverberates with meanings beyond the obvious. Indignation has the disconcerting quality of truth and is an altogether adult piece of work.
  5. The beauty of Morris' achievement is the way he fuses Hawking's work in theoretical physics with his subject's life history -- finding subtle connections between the two, and avoiding the pat, predictable structure of biographical film. [28 Aug 1992, p.C3]
    • San Francisco Chronicle
  6. The biggest sin of 28 Weeks Later is that it's not in the same league as the near-perfect movie that came before it.
  7. It’s not a combination most of us would’ve thought of, but Stewart and Binoche bring out the best in each other.
  8. Her (Anderson) performance is a study in the difference between hubris and pride, remarkable for how unshowy but profoundly devastating it is.
  9. The experiences of this family from Fairfield will resonate with moviegoers around the country.
  10. A new restoration takes a flawed bit of monster camp and turns it back into a strong, serious-minded and occasionally moving science-fiction film.
  11. A treat for anyone who's passionate about films or who's ever wanted to learn more about them.
  12. The result is an excellent film - entertaining and informative and sometimes stunning in its display of the personal demons shared by these two geniuses.
  13. Sexy and intoxicating.
    • 78 Metascore
    • 75 Critic Score
    The end result is something like the best blues festival anyone could have thrown last year, although Lightning in a Bottle falls a fair piece short of its own lofty goal.
  14. The resulting film is nobly ridiculous and ridiculously noble, doing everything in its power to subvert the dross it's fooling around with.
  15. Wonderfully original comedy.
  16. This is warts and all, with the emphasis on the warts.
  17. A film one can admire, but it is not "likable," per se, nor does its director wish it to be.
  18. Hand it to directors Michael Beach Nichols and Christopher K. Walker, who could have made the story into a black-hat/white-hat affair. Without soft-pedaling Cobb’s noxious ideology, they implicitly raise questions about how Leith responded to the perceived danger.
  19. The silence captured in this documentary -- a meditative look at life in the Carthusian monastery of the Grande Chartreuse in the French Alps -- may be the most eloquent you'll ever hear.
  20. Blanchett in Blue Jasmine is beyond brilliant, beyond analysis. This is jaw-dropping work, what we go to the movies hoping to see, and we do. Every few years.
  21. The talented fantasy filmmaker and heir to the "Lord of the Rings" throne gets the tone right throughout Hellboy 2, and the hip retro charm alone is enough to merit recommendation.
  22. Under Fontaine's direction, family dysfunction is an intense experience with unexpectedly positive repercussions, even if the steps between are painful and potentially deadly.
  23. The film feels like bare- bones docu-fiction, though, resisting the attendant drama until the bitter, grisly end.
  24. A handsome film, filled with lavish costumes and set designs and told in a series of exquisitely composed images. But even with its visual polish, it's a chilly, largely unaffecting film about an unsympathetic man.
  25. This is a brave film, a unique way of exploring a taboo topic. The animation works on many levels, but at the end of the day, it’s about how art helps Signe overcome her madness. That’s a heartfelt message — and here it feels genuine.
  26. Compelling.
  27. The film's sense of intimacy, its closeness to real people and painful events, allows it to reach a deeper place than more conventional pieces of political rhetoric.
  28. A brutal movie, brutal in all the right ways -- brutally stark, brutally funny, brutally brutal. [30 Oct 1992]
    • San Francisco Chronicle
    • 78 Metascore
    • 75 Critic Score
    How to Draw Bunny won the Special Jury Prize at the 2002 Sundance Film Festival, which must go to show how scarce noteworthy documentaries are.

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